Monthly Archives: October 2017

Shaadi Mein Zaroor Aana: Pallo Latke sees Rajkummar Rao doing desi ‘matkas’ and ‘jhatkas’

Rajkummar Rao-Kriti Kharbanda starrer Shaadi Mein Zaroor Aana released a new song titled ‘The Pallo Song’ or ‘Pallo Latke’ (yes, you’ve heard the chorus at every Indian wedding ever).

Youtube screen grab from 'Pallo Latke'.

The song is voiced by Jyotica Tangri & Yasser Desai. The lyrics of the song have been penned down by Kumaar and the energetic rap is by Fazilpuria of ‘Kar Gayi Chull’ fame.

‘Pallo Latke’ sees Rajkummar Rao (vaguely reminiscent of Rao in Bareilly Ki Barfi) dancing and jiving alongside Kriti Kharbanda (vaguely reminiscent of Kriti Sanon in Bareilly Ki Barfi). It is oddly satisfying to see Rao in a whimsical and wacky avatar after the actor has recently given hard-hitting performances in Amit V Masurkar’s black comedy Newton and Hansal Mehta’s Omerta. Doing matkas and jhatkas doesn’t necessarily suit Rao, but it is endearing to watch him try nonetheless.

Kharbanda adds colour and an electric-looking chunni to the entire show. The best part about the song is its chorus because we have been hearing it for decades, sung by the older generations during wedding functions. A sense of authenticity has been maintained and not too much has been tinkered with during these stanzas, leaving a listener nostalgic of that big fat Indian wedding they once attended. The singing here is quite brilliant too. Fazilpuria makes an appearance and fights with Rao over Kharbanda somewhere in the music video like she is a commodity (…yeah, it’s 2017 and Bollywood is still doing this).

Shaadi Mein Zaroor Aana is produced by Vinod Bachchan and is slated to release on 10 November, along with U Milind Rau’s horror film The House Next Door and Tanuja Chandra’s romantic comedy Qarib Qarib Singlle.

Batti Gul Meter Chalu: Shahid Kapoor’s next is based on issue of high electricity bills in India

Mumbai: Shahid Kapoor’s next film, Batti Gul Meter Chalu, is about escalating electricity bills and has a social message, its director said.

The film’s teaser was released on Diwali.

“The subject of the film is very relevant to our times. Diwali makes it just the right occasion for us to shed light on a subject that needs to be discussed. We look forward to making a film that is both commercially entertaining and encourages a social conversation,” director Shree Narayan Singh said in a statement.

Still from the teaser of Batti Gul Meter Chalu (left); Shahid Kapoor (right). Images via Facebook

Batti Gul Meter Chalu is a light-hearted social drama, and since it is based on the issue of astronomical electricity bills that citizens face, the makers thought it was ideal to launch the title and teaser on the festival of lights, a press release issued in Mumbai said.

Sher Singh: Will Ranveer Singh star in sequel of Akshay Kumar’s Singh is Kinng?

When Vipul Shah’s Singh is Kinng was released in the year 2008, Akshay Kumar and Katrina Kaif were the reasons why it performed well at the box office. The songs, the comedy, the drama — everything struck a chord with the audience and the film was declared a major super-hit. Recently, there were speculations that Ranveer Singh might star in the sequel of the film. Now, it has been revealed that the new film’s title is Sher Singh, reports Mid-day.

The producer of the film, Shailendra Singh, confirmed the news. “While we had initially wanted the title Singh Is Kinng, Vipul Shah refused to part with it. I have been asking him to return it to me for the last five years. Then, I decided to pick another name, because the name Singh Is Bliing had also been explored. So, a similar sounding title would cause confusion,” he said.

Akshay Kumar in the 2008 film Singh is Kinng (left); Ranveer Singh (right). Images via Facebook

Talking about the film, he adds, “Bollywood doesn’t have an iconic superhero. Sher Singh will be that character. He does not have super powers, but will be an extraordinary human being.”

Speaking about casting Ranveer Singh as the lead actor, the producer said that the Ramleela actor was his first choice as he has “all the characteristics needed to play a sardar“. Shailendra Singh has reportedly narrated the film’s story, in brief, to Ranveer about a month-and-a-half ago. He is going to submit a 10-page long script to Ranveer Singh this week, adds the Mid-day report.

No official confirmations about the film’s cast or release date have been made so far.

Aamir Khan in Secret Superstar shows why more A-list actors need to take on small roles

Secret Superstar is about a 15-year-old, Insia (Zaira Wasim) and her dream of becoming the desi Taylor Swift. One of the supporting characters that helps Insia along in her journey to stardom is played by one of the biggest Bollywood stars. In his only release for 2017, Aamir Khan plays Shakti Kumaarr, a narcissistic, arrogant, debauched music composer.

This was Aamir’s chance to reach beyond the constricting parameters that Hindi film heroes are expected to stay within. And, the actor went for it. Kumaarr is a singer-composer struggling with a failing career, his Mr Nasty reputation as a reality show judge and a very public divorce. He is, in equal parts, Nadeem (one half of the famous ’90s composer duo Nadeem Shravan), Anil Kapoor’s character from Taal and Kamaal R Khan. Add to this a faux-mohawk with frosted tips and rhinestone t-shirts that looked sprayed on and the caricature is complete. Khan’s had fun playing Kumaarr and it shows! Under the gaudy veneer, Khan gives the character enough nuance to make him likeable.

Aamir Khan in Secret Superstar

Secret Superstar isn’t the first time Aamir has been in a movie where neither is he the protagonist, nor is the role an ‘extended cameo’. A decade ago, there was another tearjerker film about parents and children that had a pre-teen protagonist walk away with all the accolades. The film was Taare Zameen Paar that told the story of an eight-year-old Ishaan Awasthi who struggles to make sense of numbers and words. Aamir, who both produced and directed the film, played the compassionate art teacher Ram Shankar Nikumbh who recognises symptoms of dyslexia in Ishaan.

Aamir was the only known face in Kiran Rao’s debut film Dhobi Ghat (2010), about four lives that randomly connect in Mumbai. The actor played Arun, an angst-ridden artist who has a one-night stand with Shai (Monica Dogra) but has little time for her the morning after. Unlike the other two films, Aamir didn’t seamlessly merge into the film’s art-house aesthetic but, hey, at least he tried!

His colleagues Akshay Kumar and Shah Rukh Khan have also lent their support to ‘smaller’ (purely in terms of budget) films in Oh My God! (2012) and Dear Zindagi (2016) respectively. And, that’s where this list ends.

Only three leading men from Bollywood’s galaxy of stars have been secure enough in recent times to play second fiddle to another lead actor.

The length of a role is not something Hollywood’s superstars seem to be too hung up about. Tom Cruise in Tropic Thunder, Brad Pitt in 12 Years A Slave, Julia Roberts in August: Osage County and Jennifer Lawrence in American Hustle are all great examples of actors sinking their teeth into minor but memorable roles. It’s a chance, as acting teachers would say, to tune your instrument and these actors grabbed it with both hands.

Theoretically most actors are taught, “there are no small roles, only small actors”. Unfortunately, this is not an adage that works in Bollywood. Accepting a minor part in a film, regardless of how great the role is or important the film could be, is something that most superstars here would immediately dismiss. In Bollywood, there are small roles and big roles, and stars here only want the big ones. After all, size matters.

During an interview on the sidelines of the Toronto Film Festival, Anupama Chopra asked Priyanka Chopra about the ‘one thing she could do in Hollywood that she can’t do in Bollywood’. The Quantico-actress used her forthcoming Hollywood film A Kid Like Jake as an example. “The lead cast is Claire Danes and Jim Parsons. But, it’s such an incredible story. It’s based on a play, it’s a first-time director. It’s about a four-year-old child who has a gender crisis and the parents don’t know how to deal with it. He wants to be Rapunzel instead of Spider-Man. How the school reacts and I’m the neighbour whose son doesn’t have gender issues and they are friends. You have people like Octavia Spencer. You have such incredible actors who have come together just to do four or six scenes. That’s the only thing that I miss in India,” she said.

Priyanka, who is also a producer, lamented about trying to cast a ‘big time female actor’ for six scenes in a kid’s film. “My mother said ‘the entourage of the actor would cost more than the budget of the film,’ which is probably true. My idea was to get a really big actor to support a film on an issue with children and stray dogs. Anyway, I’ll probably end up doing it myself at some point.”

It’s important to understand the economics of a big actor in a small film. Aamir, Akshay and Shah Rukh settled for non-hero roles only in films they produced. A small film can’t afford a star’s regular fees so the only way for them to recover cost per minute of screen time is probably to have a share in the profits. This also explains why a Salman Khan wouldn’t play God in Oh My God! or Ajay Devgn the psychologist in Dear Zindagi.

There is a glacial-shift in Bollywood from star-driven cinema to more content-driven movies. Instead of looking at smaller roles as ‘being lesser’ or not lucrative enough, our superstars need to see them as an opportunity to stretch their acting ability and/or using their star power to tell different stories. And this change has to start right at the top.

Golmaal Again: Tabu, Parineeti Chopra drive the narrative of this oft cliched horror-comedy

The team of Rohit Shetty’s comedy franchise Golmaal is back after the seven year itch to tickle our funny bones this Diwali.

The fourth installment, Golmaal Again, carries an extra burden of being grander and madder than the previous parts. With horror elements incorporated into the storyline and new characters of Tabu and Parineeti Chopra introduced, it seems to be on the right track.

The film starts with Tabu who is established as someone who can see and talk to spirits. Her philanthropy extends from humans to troubled spirits. Her narration sets the tone for a film that is unlike any Golmaal we have seen in the past.

But soon, her narration leads to a flashback that describes when she encountered the Golmaal gang. She reveals that all of them grew up in an orphanage where she used to work. Then the film gives way to Ajay Devgn’s high-octane action sequences, designed by Rohit Shetty, and Sanjay Mishra’s undeniably lame jokes. Kunal Kemmu, Tusshar Kapoor and Arshad Warsi also jump into the fray soon thereafter.

Years after abandoning the orphanage, the gang reunites at the funeral ceremony of the owner of the orphanage. Multiple forces, both earthly and unearthly, conspire to compel the gang to live in the neighbouring house.

Tabu and Parineeti Chopra are already living in that house and a large chunk of their time goes into making the gang, who are at odds with each other, co-exist peacefully in the house. Soon they start witnessing supernatural elements. One of them gets possessed by a lurking spirit which leads to loads of slapstick comedy.

The horror-comedy genre lends a fresh appeal to the genre, as everything from the acting style to the background music has been tuned as per the hybrid genre.

Ajay Devgn, whose role was limited to breaking fingers pointed at him in the previous parts, is also seen at his vulnerable best in this part. He is scared of ghosts and darkness which he establishes through his loud yet effective expressions.

Kunal Kemmu, Tusshar, Arshad and Shreyas provide doses of slapstick comedy, swearing by their respective character traits.

Tabu and Parineeti Chopra have been cast appropriately and it is a wise and welcome move on Rohit Shetty’s part to cast as per the age of the characters which justifies the age gap between Devgn and Parineeti as well as Tabu and the rest of them.

Both characters have a sense of intrigue attached to them. Parineeti provides the much needed restraint in this comedy that is all over the place. Her aqua contact lenses and the tattoo on Tabu’s wrist proves Rohit’s eye for details. The female characters also serve as the method in this madness.

While the sets appear synthetic, some of the special effects are good. Nana Patekar has dubbed for the ghost and he is spot on in his signature delivery.

The sequence leading to the interval point is done well and it is then that the plot reveals itself to be beyond horror comedy. It turns out to be as much of a suspense drama.

The second half introduces you to the antagonists Prakash Raj and Neil Nitin Mukesh. Mukesh seems to be in Saaho mode as he has only been doing negative roles since last year. Wazir and Indu Sarkar are case in point. Though his character is merciless, it does not come across because of the lame surround sound.

Once the plot starts unraveling, the film turns into a quagmire of cliches and a turmoil of slapstick comedy.

Apart from the occasional laughs provided by Johnny Lever, Sanjay Mishra’s and Nana Patekar, the comedy is blase.

What works for this film is the strong female characters. Unlike the previous parts where Rimi Sen and Kareena Kapoor were merely objects of desire, Tabu and Parineeti play a crucial role in the film’s narrative. In fact, they drive the narrative and the gang is only a means to the end.

But if the means are not as solid as the end, the film seems stretched. This is what Golmaal Again suffers from. While this is a Dilwale-like experiment on part of Rohit Shetty to venture outside his comfort zone, given the fate of that film, it is a brave move, even if the output could have been far better.

Secret Superstar explores a beautiful mother-daughter friendship forged under oppressive circumstances

In one of the first scenes in Secret Superstar, Insiya’s (played by Zaira Wasim) mother, Najma (played by Meher Vij) is wearing oversized, maroon sunglasses. But the ginormous lens not withstanding, Insiya notices a visible gash underneath her mother’s left eye. When she takes off the sunglasses, a horrifying bruise on her face is revealed. When Insiya mockingly asks her how she got the bruise, Najma says she hit her face against the cupboard. Neither of them buy this and there’s an unspoken understanding that they’re not supposed to talk about what really happened — that Najma was hit by her abusive husband.

Najma and Insiya’s relationship is their only respite from their reality. They both watch singing competitions together, exchange song ideas and bet on who will win the best singer award at the next award ceremony. The little world of mutual admiration for all things music is the escape they’ve created for themselves in an abusive environment. But the biggest common ground they hold is Insiya’s dream of becoming a popular singer. Najma knows Insiya will never be able to achieve her goal thanks to her conservative dad, but she still can’t help herself from encouraging her daughter. She, like a lot of mothers, goes the extra mile to see a smile on her daughter’s face — whether it’s cutting corners or selling jewellery to buy Insiya things she needs to create music.

Zaira Wasim in a still from Secret Superstar. YouTube

Insiya, even in her 15-year-old teenage angst, wants to change her mother’s life. She shakes in rage when her father hits her mother, uses her talent to get her legal help and even temporarily gives up her dream to be a singer to assuage her mother’s fears.

What they have is beyond a mother-daughter relationship. We see friendship in action in the unlikeliest of places — between two women divided by a generation gap. Temperamentally, Insiya has more in common with her father than her mother. They both share the same rage and physical expression of frustration. Najma, on the other hand, silently gulps down her pride.

Besides music, mother and daughter find a common ground in their hatred for Insiya’s father and his reign of domestic violence. But it goes beyond that. They don’t just stick together to protect each other from the patriarch of the family — they learn to respect each other as individuals.

We don’t often see this in Bollywood movies, even with strong mother-child relationships.

On-screen moms tend to be closer towards their sons in troubled families like in Dear Zindagi, where Alia Bhatt’s mother leaned towards her son in light of her troubled relationship with her daughter. At most, we see mother-daughter relationships restricted to parent-child tropes. The closest a movie came to breaking that was Nil Battey Sannata, but even then they’re always mummy and daughter, never two individuals. The mother in Nil Battey Sannata dreams for her daughter and tries to be the drive that will lift them out of poverty. But Secret Superstar draws on an equal-footed friendship between two distinct women.

Distinct because Najma and Insiya have distinct characteristics on their own. Najma’s fearful nature is a result of years of abuse and inferiority complex. Even if pitiful at times, she has her own personality, something her daughter both detests and admires. Insiya’s character is at times loyal, and sometimes, selfish. If Najma’s strength is patience, Insiya’s is ferocity. Both women learn from each other and swap strengths at different points in the movie. Insiya dejectedly complies with her father’s wishes to keep her mother safe.

She does her homework, studies hard, forgets about her dreams, agrees to move to Saudi Arabia like her father decides for them, so that her mother doesn’t face more trouble. Najma, eventually learns to find her inner voice and slaps her husband with divorce papers. Insiya learns Najma’s patience while Najma draws from Insiya’s courage to stand up to her husband.

This exchange of traits is akin to those of real friendships — women you’ve met and grown to love and respect. We see shades of this exchange in movies like Angry Indian Goddesses, Dor and Lipstick Under My Burkha, where unrelated women build each other up and learn from each other. It’s endearing, but it’s predictable.

Insiya and Najma’s story deviates from these where not just as mother and daughters, they respect each other as human beings and as women. They recognise each others’ autonomy — something they’ve never enjoyed in their abusive home. In an overwhelming climax, Insiya not only thanks her mother for her best singer award, but acknowledges that Najma is the secret superstar: the one who quietly bore the burden of Insiya’s dreams and fought for both their voices — Insia’s singing voice and Najma’s talking voice.

But it’s not just an abusive patriarch they fight. They also fight their own insecurities and helplessness. Najma looks for and finds courage in her daughter. Insiya finds reason to fight for a better life for her mother. Their intermingling struggles help them define their individualities. It provides a probable insight into how women find each other in abusive homes. There’s judgement, anger and frustration. But there’s also reconciliation, understanding and kindness. Perhaps, women build their own worlds filled with respect and affection for each other, inside an unfortunate world of abuse and harassment.

Even though Secret Superstar’s domestic violence-based storyline specifically speaks of one home in a tiny corner of Vadodara, Gujarat, the film resonates bigger feelings, like it was speaking about women and the world at large. In light of chronic harassment and oppression from a patriarchal society determined to throttle women’s voices, the movie shows that women create a network of Insiyas and Najmas to draw silent strength from (the recent #MeToo movement is a fantastic display of this little world of solidarity and courage). The ones who help us fight for ourselves and each other at the same time.

Sometimes these network of voices look like our mothers and sometimes like our daughters. But most times, they look like the person we’d like to see in the mirror — the friend found in the unlikeliest of places. Much like how Najma and Insiya found each other as people, as not just as a parent and child.

Tabu on Golmaal Again: ‘It is not the norm to see women playing comic characters’

After couple of disasters, Tabu came into prominence with Vijaypath (1994) opposite Ajay Devgn, back in the 90s. And very soon she managed to strike a balance between commercial and critically acclaimed cinema as she took up off-beat films much early in her career without bothering about the risk involved, or worrying about getting slotted into some kind of an image.

If on one hand she did Saajan Chale Sasural with David Dhawan, she also did Gulzar’s Maachis around the same time, and alongside she was also doing Mani Ratnam (Iruvar) and Kunjumon’s film (Kadhal Desam) in Tamil, both commercial. To quote her from an interview in 1997 — ‘I try not to get typecast in any role, any image. I feel I can do justice to every kind of role, so why not make the best of it? Commercial films alone can get you only so far, if you want to last as an actress then you have to put in that extra bit of investment by doing off-beat films too.’

Ajay Devgn-Tabu have teamed up in Gomlaal Again, three years after Drishyam and 23 years after Vijaypath

Tabu has certainly reaped dividends by following this career path, because even as over 20 years have passed since she entered the industry, her mere presence in a film is enough to attract a certain segment of the audience, which can even be an out and out comedy like Golmaal. Tabu will be seen in the fourth part of the successful franchise that releases today (20 October).

By her own admission, these days when she picks films like Golmaal, she can relax as the responsibility lies more on the shoulders of the brand, the director “and his five boys”.

“When I am part of serious films, most of the time pressure is on me. I do feel it and get bogged down by it, and hence, doing films like Golmaal is a refreshing experience because I will just go, shoot, have fun and come back. It is these guys who have made the brand. My focus, as usual, stays on the director,” she says.

Talking about being part of Golmaal Again, she said, “I have always felt that it would be great to be part of this franchise, and when I heard the script and narration, the role was apt for me. It is a lovely role and fits in beautifully. I also trusted them because if they want to cast me they will give me something that suits me well. That much confidence I have on me as well as the director (laughs).”

However, Tabu agrees that comedy is essentially men’s domain. “Writing comic parts for women isn’t very easy, or it is not very common. You can see that in any era, or language, nationally or internationally, it is not the norm to see women playing comic characters,” she said.

But there is an interesting reason behind Tabu’s interest in comedies that not many know of.  She had once said that her family has an amazing sense of humour and she likes being around those who make her laugh. Is that one of the reasons why she wanted to be part of Golmaal series?

Image courtesy: News18

“Absolutely. I am somebody who cannot stay without laughing. Irrfan often tells me that if the guy I marry doesn’t have a sense of humour then I will die. I have grown up with uncles who could make jokes out of anything and everything. I was all the time exposed to wisecracks, sarcasm and fun stuff.  So I always get attracted to people with a good sense of humour. I think humour is an important part of life,” says Tabu.

Be it Maqbool’s Nimmi, Haider’s Ghazala or Fitoor’s Begum — these are all adaptations of classics that see Tabu in one of the main roles. For that matter even for Drishyam’s IG Meera Deshmukh, or Cheeni Kum’s Nina Verma, filmmakers sought her out. So is a substantial role the only criteria to sign on the dotted line?

“No, that is not the only criteria. It so happened that these roles and characters came to me. I didn’t do these with the intention that I want to do only female-centric cinema, or women-oriented films. There was no method, planning or calculation behind it. It’s good that I am identified with certain kind of roles, characters, cinema and positioning,” she adds

Tabu further says, “I have unintentionally maintained balance between popular and off-beat cinema because I have done lot of films with many different directors. I was offered every genre, roles, different language films, and I picked what I liked. That has been my strength. I had commercial success so I could explore other genres. I didn’t believe in herd mentality, and hence I agreed to do films that others would have refused which probably benefited me.”

But going further, Tabu reiterated that she would like to avoid taking the entire responsibility for a film. “Now for me taking decision is not that black and white that I would take the entire responsibility on my shoulders. For last few years I have been avoiding such films where all the pressure lies on me. When people come to me with a formula then I don’t like it. My focus should be on my work,”  Tabu explains.

Interestingly, even in a multi-starrer, certain section of people have this confidence that if Tabu is part of the project then it will have something substantial and sensible, to which she joked while laughing out loud, “Oh my god…now for that I should start charging extra fee from my producers. Besides acting and promoting, I should also charge for audiences’ confidence in me.”

For the seasoned actress, who doesn’t consider herself to be a method actor but someone who has played plethora of roles, there are certain characters that has stayed with her.

Hu Tu Tu’s character was poles apart of who I am. It was grey and later it becomes totally dark. Then, my characters in Maqbool, Haider or Namesake…those were so larger than life that they shook your equilibrium. I could relate to Cheeni Kum, and Astitva was also very close to me internally. Chandni Bar affected me a lot when I read the script,” says Tabu, who would once like to don a uniform for a role. “I haven’t played a doctor or a pilot so far,” she laughs.

Tabu may not be very active on social media but she is quite prolific on Instagram: “I have no such intentions of voicing my opinion and hence I am not on Twitter or Facebook. I am very happy with my life. Posting pictures is good enough. I like the fact that I can say so much with one picture. I am not someone who needs to give strong opinions. Even in my relationships I am like that…I need my space.”

Tabu is someone who has always been labelled as an introvert and unapproachable, and she’s managed to stay away from media glare and controversies. When asked about her take on certain stars like Aamir Khan, Ajay Devgn, Akshay Kumar, Kangana Ranaut not taking popular awards too seriously, Tabu, who has been bestowed with a large number of popular awards (also two National Awards) chose not to comment.

Jio MAMI 19th Mumbai Film Festival DAY 5: Decoding the complexities in Irrfan’s The Song of Scorpions

Richard Linklater has a long sustaining relationship with the road. The Before Sunrise series has the road as a necessary setting to the chemistry in the young lovers Jesse (Ethan Hawke) and Celine (Julie Delpy). We see, over the years, the road taking their romance just a little bit forward every time we meet them.

His latest film, Last Flag Flying is a bit difficult to categorise. There is a sprinkling of everything; the road where memories of the war are nudged, a critique of America as it is today, and a satirical take of institutions that gurgle vague concepts on heroism.

Here’s what I could make of the plot of Last Flag Flying: Doc has just lost a son killed in a war that is waged by America overseas. He and his old war mates Sal (played by Bryan Cranston, Walter White of Breaking Bad) and Mueller come together after not having met for years for a journey across America.

Doc’s son’s body, which is housed in a large cumbersome coffin, needs to be taken to his home state for burial, and all four of them — men alive and dead — traverse America in cars, trucks and trains. They find themselves remembering parts of their selves and weighing the war mistakes of Vietnam, where they were together.

There are moments of irony that stand out; for example the military escort and a dear friend of the dead officer who states that he joined the military because he is from Oakland, where life is unpredictable thanks to a rampant gun culture.

He is a man who the three war veterans are compelled to take as their escort because if they do not, the young officer will be sent back to Baghdad.

There are several instances like these that make the film about America, cold and vastly driven by its numerous wars. Bryan Cranston brings in a compulsive sense of humour but it is difficult to not imagine him springing a surprise the next minute by cooking some meth as Breaking Bad’s Heisenberg. The film leaves you somewhere in the middle of the road but then it cant be easy for any director to follow up to a film like Boyhood.

The other film running to a packed house that I managed to catch was The Song of Scorpions, which was my second ‘impossible to categorise’ kind of a film. It did, however, take me to a nicely shot, brown and raw Rajasthan.

Nooran is a scorpion healer — a gift she has inherited from her grandmother; she hums the tune that pacifies the poison of the scorpion. Camel trader Aadam (an interesting name symbolising everyman), is torn apart by obsession, jealousy and love for the woman, Nooran. Aadam does everything he can to get Nooran as his wife, including silencing her song. But an interesting character I was left wanting more of was Aadam’s friend, Munna, a man who is a ploy in the twisted scheme thought of by Aadam.

There is a mythology and tradition — especially about healing — that layers the narrative. But the dialect and accent of the film left me slightly confused. The desert landscape is one of the characters of the film, and a scene almost at the end, where Farahani seduces Irrfan with a new knowledge of treachery, is worth mentioning. This too was a film not quite easy to discuss immediately after viewing, maybe more time could have me find a more decisive opinion on the film. 

Rishi Kapoor unveils his Mulq look on Twitter; teases set photos from 102 Not Out

Veteran Bollywood actor Rishi Kapoor has finally shared the first look from his upcoming movie, Mulq on Twitter and it’s come as a surprise for fans.

On Monday, 16 October, Rishi Kapoor changed his Twitter profile picture and also came up with a new bio saying, “For all my fans my first look of the film ‘Mulq’. Voice of tomorrow!

Veteran Bollywood actor Rishi Kapoor has finally shared the first look from his upcoming movie, Mulq on Twitter and it’s come as a surprise for fans.

On Monday, 16 October, Rishi Kapoor changed his Twitter profile picture and also came up with a new bio saying, “For all my fans my first look of the film ‘Mulq’. Voice of tomorrow!”
Sporting a long beard and a sombre expression, Rishi’s look has made fans curious about the film. As per reports, Rishi has shot a scene at Lucknow palace for the movie. The location has incidentally been part of other iconic films like Junoon, Umrao Jaan and Gadar: Ek Prem Katha were shot.

While speaking about Mulq, the veteran actor was quoted by ANI as saying, “I have not done drama in a long time and when Anubhav narrated the film to me, I loved the concept of the film. Shooting in Benaras and Lucknow will be an added bonus since I have heard such great stories about the cities.”

Directed by Anubhav Sinha, Mulq also includes Taapsee Pannu, Rajat Kapoor, Neena Gupta, Ashutosh Rana and Prateik Babbar in its star cast. The interesting part is Anubhav has also written the script apart from Mushtaq Sheikh. Taapsee is expected to portray Rishi’s daughter-in-law whereas Neena may play the role of his wife.

However, Rishi didn’t just stop at the Mulq look. Replying to fans, he even shared another look from 102 Not Out. The film stars Rishi as Amitabh Bachchan’s son. He included this caption with the photo, “Another different fun film I am doing — ‘102 Not Out’with the amazing AB.

While Amitabh will be playing the role of a 102-year-old father, Rishi Kapoor will be his 75-year-old son. The two actors are right now busy shooting for the film, directed by Umesh Shukla. 102 Not Out is scheduled to be released in December. Rishi’s last release was Patel Ki Punjabi Shaadi.


Qarib Qarib Singlle trailer to be attached to Aamir Khan’s Secret Superstar

The trailer of Qarib Qarib Singlle, starring Irrfan Khan, will be attached to Aamir Khan’s Secret Superstar.

Parvathy and Irrfan Khan in Tanuja Chandra's Qarib Qarib Singlle. Image via Facebook/ Media Spook

Secret Superstar will release on 19 October. The audience will also get to catch a glimpse , which brings to celluloid a fresh pairing of Irrfan and Malayalam actress Parvathy, who is making her Bollywood debut with the film, read a statement.

Irrfan’s film showcases a mid-age love story of an online dating couple who embark on a journey of discovering love. Presented by Zee Studios, Qarib Qarib Singlle is A Jar Pictures production and is helmed by filmmaker Tanuja Chandra.

The film, shot across real locations of Bikaner, Rishikesh and Gangtok, is slated to be released on 10 November.